


The Great Demon and the Sisters Without Ending

by SusanaPolo



Category: Batman (Comics), The Sandman (Comics)
Genre: Gen, Madness, Misogyny
Language: English
Status: Completed
Published: 2015-12-02
Updated: 2015-12-02
Packaged: 2018-05-04 01:48:21
Rating: Teen And Up Audiences
Warnings: No Archive Warnings Apply
Chapters: 1
Words: 5,740
Publisher: archiveofourown.org
Story URL: https://archiveofourown.org/works/5315690
Author URL: https://archiveofourown.org/users/SusanaPolo/pseuds/SusanaPolo
Summary: <blockquote class="userstuff">
              <p>A daughter of the Tribe of Ubu wants to know why only men are trained as the Great Demon's bodyguard. And so an elder tells her the story of the first Lazarus Pit, and the first wife of Ra's al Ghul.</p>
            </blockquote>





	The Great Demon and the Sisters Without Ending

**Author's Note:**

> This script is based, in part, on characters created by Neil Gaiman, Dennis O'Neil and Neal Adams. It borrows liberally from Ra's al Ghul's origin story as depicted in _Batman Annual_ #26, written by Peter Milligan and drawn by David Lopez. 
> 
> This writer does not draw, or this script would be a comic. If you draw, and this script seems like something you'd like to draw, please see the note at the end!

**PAGE 1** ****

PANEL 1

We open in an encampment in a rocky desert. The tents are laid out deliberately but not with precision, nestled in the shelter of an overhanging cliff formation. They're of slightly varying shapes and wildly varying ages, and the same could be said of the people among them. They are a brown people — the men are dark haired and the women cover theirs — and some of the women wear veils.

The camp doesn't seem like a military installment... But there are modern automatic weapons present. The people don't look like they're nomads... But they do seem like they could pick up and travel when they need to. In fact, the camp is neither of those things and both.

NADIRA, a young girl, perhaps eight or nine, chases angrily after her brother AFZAL, a boy of eleven or twelve. Afzal laughs as he runs, holding a crude doll away from her.

AFZAL

Hahaha! Haha!

NADIRA

Afzal! Give her back!

PANEL 2

Afazal and Nadira dash expertly through the close spaces between tents, cluttered with boxes and barrels, sacks and canisters. As he runs, Afzal is twisting his torso to hold the doll tantalizingly closer to her, but his face is pure taunt.

AFZAL

Come and take it, haha!

PANEL 3

Inset panel: Afzal's foot catches on a roll of canvas.

He stumbles, the panel catches him in mid-air, about to sprawl out into a wider, clear pathway between tents.

AFZAL

HH-

PANEL 4

Afzal sprawls out on the ground.

AFZAL

MMPH

PANEL 5

Nadira has landed on Afzal, knocking the wind out of him again. She's grabbing a tight fistful of his hair in one hand as she raises the other to begin pummeling him.

AFZAL

Oof!

NADIRA

(the word ballon runs into the next panel)

Give her back give her back give her BACK GIVE HER B--

PANEL 6

Nadira trails off suddenly and she and Afzal look up in terror (towards the reader) at what is on the path they've stumbled into.

* * *

**PAGE 2** ****

FULL PAGE PANEL

We see Nadira and Afzal from behind, almost unnoticeably low in the foreground, while the "camera" angles up at our real subject: the presence that has spooked them so badly.

Their scuffle is blocking the path of the great RA'S AL GHUL. Ra's looks magnificent with his green and gold cloak betraying the flash of red beneath it: the tie of his dark, Western-style suit. You know, he looks like he always does: like if Dracula was born an Arab warlord.

The neutral gaze on his face -- and the way his hand rests on the saber at his side -- raises the question: "He wouldn't kill two children just for blocking his way.

"...right?"

* * *

**PAGE 3** ****

PANEL 1

The children scramble to the side of the path as they get to their feet. Ra's watches them, his expression unchanged.

PANEL 2

Afzal and Nadira bow to their tribe's earthly god as he sweeps past. Following behind him is UBU: shaved head, bare arms; a mountain of corded muscle.

PANEL 3

Ra's has passed, but only Nadira has raised her head, curiosity overcoming her fear, to stare... At Ubu. As he passes, the huge man meets her gaze laconically.

PANEL 4

Afzal looks up as well, grinning excitedly, but only after both men have passed. Nadira eyes the doll in his hand, forgotten at his side, sizing up the distance between the two of them.

PANEL 5

Inset panel: Nadira's hand snatches for the doll in Afzal's, she's almost reached it!

Afzal holds the doll above his head, having swiftly yanked it up, pressing Nadira away with his other hand as she stretches for it.

AFZAL

Ohh no, hahaha!

NADIRA

Give her baack!

* * *

**PAGE 4**

PANEL 1

Still pressing Nadira away from him, Afzal examines the doll for the first time, with great amusement. It is a female figure in a long skirt, hair covered, but to its right hand is sewn a small wooden sword. Nadira is furious.

AFZAL

Why does your doll have a sword?

NADIRA

She has a sword because she's the Ubu!

AFZAL

(cont)

Haha, your doll can't be the Ubu!

PANEL 2

Without looking at Nadira, Afzal casually tears the doll's sword arm from her body. Horrified, Nadira has her hands over her mouth as if to suppress a scream.

SFX

SSHRKK

NADIRA (LARGE LETTERS)

GASSP

PANEL 3

Still not looking at his sister, Afzal lets the doll's arm drop from his hand just as casually and soliloquizes.

AFZAL

When I am a man they will choose me as the Ubu, and my place will be at the Great Demon's side as he travels the world, killing all who oppose his way.

PANEL 4

Twin streams of tears drip to the dusty ground over Nadira's hands, still clasped over her mouth, as Afzal tries to hand the maimed doll back to her. He finally realizes that he's gone too far; been a shit big brother.

AFZAL

It'll be... ...Uh... great, Nadira!

(cont)

You'll be sister to the Ubu! And your place will be... ...uh...

PANEL 5

Same as previous panel, but Afzal cringes hopefully.

AFZAL

...the birthing tent?

HUDA (OFF PANEL)

And is it the place of the Ubu to steal, Afzal?

* * *

** PAGE 5 **

PANEL 1

HUDA, a woman of the tribe, has come upon them unaware and Afzal blanches as he faces her. She is solidly into middle age, though it's hard to tell around the veil that covers her face below the bridge of her nose. What we can see of her expression is stern and regal.

AFZAL

N-no, _sayida_ Huda.

HUDA

And at this moment your place is with the _mudarrab_ for sparring, is it not?

AFZAL

(cont)

Y-yes, _sayida_ Huda.

PANEL 2

Inset panel: Afzal's hands shove the doll into Nadira's.

AFZAL

Demon watch over you, _sayida_!

Afzal flees, and Huda watches him go calmly. Nadira bends, her face tear-stained, to pick up her doll's arm from the dusty ground.

HUDA

And you. May you see his wrath wash over the world.

PANEL 3

Huda kneels by Nadira, all careful tenderness, as the girl holds her doll and its arm gingerly, lip trembling.

HUDA

Nadira—

NADIRA

(interrupting)

It's okay. I made her myself. So I can fix her.

PANEL 4

Huda has straightened back up, her expression gentle. Nadira still stares at the pieces of her doll.

HUDA

I see...

(cont)

I have needle and thread in my tent. Come and drink tea with me.

PANEL 5

With a gentle touch behind her shoulder, Huda walks with Nadira, away from the "camera," as the girl clutches her doll to her chest.

HUDA

I have my own mending to do, as well.

* * *

** PAGE 6,7 **

PANEL 1

A wooden spool, with a bit of thread loose, next to a steaming cup of tea on a wooden table.

PANEL 2

Inside Huda's spacious tent, Nadira furiously sews her doll, clearly because it is either sewing or crying. Her tea sits ignored by the spool of thread. Across the low table, Huda sits down with her own mug. In her home, she goes unveiled, but we ONLY EVER SEE HER RIGHT PROFILE until otherwise specified.

PANEL 3

Inset panel: Close on Nadira's fingers as she pricks herself quite hard with the needle.

NADIRA

Eep!

Nadira watches the blood round from her finger, lip trembling anew.

PANEL 4

She throws the doll down on the table so hard that it slides.

NADIRA

It's not fair!

PANEL 5

The doll slides to a rest near Huda's mug, her fingers curled around it.

NADIRA (OFF PANEL)

Why can't women become the Ubu?!

PANEL 6

Huda blows on her tea, Nadira stares at her. What Huda just said is so shocking that she has quite forgotten to keep crying.

HUDA

Women have become the Ubu.

(cont)

But it is very rare.

PANEL 7

Nadira is flabbergasted and outraged as only a nine-year-old can be. Huda sips her tea.

NADIRA

Why?! Afzal is three years older than I am and I'm nearly as strong as him. I'm certainly smarter.

PANEL 8

Nadira is flabbergasted and outraged as only a nine-year-old can be. Huda sets her tea down.

NADIRA

My sister labored for two days with her baby and on the third she got up to make her skinny husband breakfast, but when father comes home from the desert we have to let him sleep until almost dinner time!

PANEL 9

Nadira is gesticulating. Huda regards her calmly.

NADIRA

Salim complains all the time about the climb to the lookout rock when he is on duty, but Sumayya does it twice every day to bring the men water, why can't I --

(cont next panel)

PANEL 10

Nadira reaches the peak of her speech. Huda sips her tea again.

NADIRA

(cont)

Why can't girls be trained as the Ubu?

* * *

** PAGE 8 **

PANEL 1

Nadira has run down, drained and slightly embarrassed from her outburst. Huda runs her fingers over her cup on the table.

HUDA

Any _mudarrab_ would say that it is because women are  weaker. That we are less resolute, less enduring, less trustworthy and constant than men.

(cont)

And that we are needed where we are most valuable: ensuring the descent of our tribe, making the homes of our warriors...

PANEL 2

Huda's mouth twists humorlessly.

HUDA

...And slaking the thirst of our men.

PANEL 3

Nadira smiles, happily.

HUDA (OFF)

They are wrong.

PANEL 4

Huda places her cup to one side. Nadira frowns, puzzled and a little betrayed.

HUDA

And they are right.

(cont)

When you come to be my age, Nadira, Demon willing, you will have seen many children of the Tribe grow from their mother's bellies to their marriage tents.

(cont)

Women who become the Ubu are rare because we tell men and women different stories.

PANEL 5

On the table, Huda pulls the doll's sword arm to the left, and its body to the right, stretching the strings of untied thread that loosely connect them.

HUDA

And this leads people to think that 'men' and 'women' are different stories.

PANEL 6

Nadira is puzzled, and not sure what to say after such a long, quiet answer to her long, loud outburst.

PANEL 7

For want of a way to respond, Nadira awkwardly, if politely, drinks her tea, with the same expression on her face as last panel.

* * *

**PAGE 9**

PANEL 1

Smiling despite herself, Huda rubs her lip, thoughtfully. Though we see her from the front, her fingers obscure her left cheek and the left side of her lips.

HUDA

Tell me, Nadira, would you like to hear a story kept only by the women of the Tribe of Ubu?

PANEL 3

Nadira has leapt to her feet, face bright.

NADIRA

Oh, yes, _sayida_!

(cont)

_*ahem*_

PANEL 4

Nadira has assumed a practiced pose, with head lowered and hands in a prayerful position before her. Huda drinks the last of her tea.

NADIRA

Tell me a story, _sayida_ , of the Demon and his magic, that I might learn faith.

(cont)

Of the people and their generations, that I might learn devotion.

(cont)

Of blood and of sacrifice, that I might truly be of the Tribe.

PANEL 5

Nadira meets eyes with Huda, the only change in Nadira's pose that she has lifted her head.

PANEL 6

Close on Huda's eyes solemn eyes.

HUDA

I will tell you such a story.

(cont)

PANEL 7

Close on Nadira's eager eyes.

HUDA (OFF)

(cont)

Child of Ubu.

* * *

**PAGE 10**

PANEL 1

Huda holds up a finger. Still standing, Nadira concentrates.

HUDA

But first, tell me what you know of the first story of the Great Demon.

NADIRA

Oh.

(cont)

Well...

PANEL 2

This panel is drawn in different style than the rest of the comic, one that evokes representational Islamic art and murals of the medieval era.

Somewhat incongruously, it depicts a modern Ra's laying hands upon a very nervous patient.

NARRATION BOX

Once upon a time many centuries ago, there was a great physician called Ra's al Ghul.

PANEL 2

Nadira furrows her brows.

NADIRA

Wait, no. He wasn't called that yet.

PANEL 3

This panel is drawn in the same medieval style as Panel 2, and in fact is quite similar to it.

A robed man who could be mistaken for a younger Ra's (because he is), lays hands upon a suffering patient.

NARRATION BOX

Um.

PANEL 4

This panel is drawn in the same medieval style as Panel 2.

A king sits at the bedside of a suffering young man. Attending servants and courtiers weep.

NARRATION BOX

Once upon a time there was a powerful king, whose son was very sick.

PANEL 5

This panel is drawn in the same mural-like style as Panel 2.

Ra's faces the reader, cupping his hands together in front of him, a cascade of glowing, green liquid flowing miraculously from them.

NARRATION BOX

So the king called upon a great physician to cure his son with his secret knowledge of the _birkat ul li'aazar_.

* * *

**PAGE 11**

All the panels on this page are drawn in the same medieval-like style, unless otherwise specified.

PANEL 1

The king's son stands tall behind him as the king points imperiously at a cage. Inside, a sorrowful Ra's cradles the body of a robed woman. Servants laugh, and courtiers regard the cage with disdain.

NARRATION BOX

But when the son was cured, instead of rewarding him, the evil king imprisoned the physician and killed his wife!

PANEL 2

The king and his court wail, double over, or lie on the ground, skin ashen or breaking out in green pustules.

NARRATION BOX

And so the physician used his magic to escape and call down a curse upon the king and his city...

PANEL 3

Ra's rides at the head of a mounted army, his eyes shining with green fire. He swings a sword overhead as his forces crest over the flaming city like a wave.

NARRATION BOX

...and led an unstoppable army to raze the city to the ground!

(cont)

And that is how the Great Demon came to be.

PANEL 4

This panel is drawn in a modern style.

Seated again, Nadira still has room to swing an imaginary sword, eyes shining with the glory of her tale.

NADIRA

And how he began to rid the world of evil!

(cont)

Isn't that right, _sayida_?

PANEL 5

This panel is drawn in a modern style.

Huda chuckles, and Nadira grins.

HUDA

Yes, that is the story of the first _birkat ul li'aazar_.

* * *

**PAGE 12**

PANEL 1

Nadira grins cheekily, and Huda smiles as she rethreads the needle from Nadira's doll.

NADIRA

But you said you would tell me a story, _sayida_!

HUDA

Did I now?

PANEL 2

Nadira pouts, impatiently. Huda laughs.

NADIRA

_Sayidaaaa!_

HUDA

Hahahaha! Tell me, Nadira...

PANEL 3

Huda smiles. Nadira cocks her head to one side. This has never occurred to her. 

HUDA

...Do you know the name of the Great Demon's first wife?

NADIRA

No, _sayida_.

PANEL 4

Huda continues calmly, Nadira is fascinated.

HUDA

And do you know that it is because of her that, though all Ubu women must bear children for the continuation of our tribe, we may choose to make our homes with men or women, or even live entirely alone, like me?

NADIRA

No, _sayida_!

PANEL 5

Huda smiles again.

HUDA

I will tell you, then, the story of Sora, which is also the story of...

* * *

**PAGE 13**

All the panels on this page are drawn in the same medieval-like style.

PANEL 1

A great flourish of text:

The Great Demon and the Sisters Without Ending

PANEL 2

An aged, robed man, THE PHYSICIAN, stands above SORA and Young Ra's, an arm around each of them, happy and proud. The couple holds each other's hands, Sora's head bowed before Ra's smiling, husbandly gaze.

Sora is quite beautiful and wears her hair covered.

NARRATION BOX

Sora was the daughter of an elderly, learned physician who had taken the young Ra's al Ghul as his apprentice.

(cont)

It would have been no surprise if love had blossomed into union between two young people in their circumstances...

PANEL 3

Sora and Ra's look determinedly into each other's eyes. Sora holds a book before her, while Ra's holds a stoppered vial. The Physician is nowhere to be seen.

NARRATION BOX

(cont)

...But that would be another story.

PANEL 4

Sora refuses the advances of a leering man politely but firmly. The man wears fine clothes and a circlet on his brow. They are in a marketplace, Sora carries a basket, half full of fruit and pouches of grain.

NARRATION BOX

Sora's father worried that his daughter would not marry before his death, and be left with no one to protect her from the world.

(cont)

He was right to worry, for though Sora loved him and wished him to die content, she did not desire the touch of any man.

PANEL 5

Ra's pleads with the Physician, scrolls in hand. The older man regards him thoughtfully, perhaps craftily.

NARRATION BOX

As for the Great Demon, he desired only that which led him closer to the _birkat ul li'aazar_.

(cont)

And so when the old Physician told Ra's al Ghul that he could share in his knowledge only if he were to woo and marry Sora, the two young people made a deal.

PANEL 6

Sora and Ra's lie in bed, sleeping contentedly, facing away from each other, with generous space between them.

NARRATION BOX

They would marry, but they would not share a marriage bed.

* * *

**PAGE 14**

All the panels on this page are drawn in the same medieval-like style, unless otherwise specified.

PANEL 1

The Physician lies in a bed, eyes closed. Sora stands sorrowfully by his side, a closed book held in her hands. Ra's stands solemnly at the foot of the bed.

NARRATION BOX

Soon after their wedding, the physician died. Ra's had become wise in the ills of the body, but only Sora could decipher her father's notations.

PANEL 2

Ra's and Sora hold the book open between them, proud and satisfied. A sickly green glow emanates from it.

NARRATION BOX

Working together, as equals, they did what no one had done before: they unlocked the secrets of the _birkat ul li'aazar_ , a pathway to eternal life.

PANEL 3

This panel is drawn in a modern style.

A stoic Young Ra's shoves vials and implements into a satchel, an urgent Sora behind him. He's rushing around their home in the king's city, gathering his things, as she follows.

In his haste, he is knocking one stoppered bottle off of a table.

NARRATION BOX

When the king came to Ra's al Ghul and begged him to save his dying son, Sora pleaded with her husband to refuse.

SORA

He is a mad lion. There's not a woman in this city -- nor a girl \-- who doesn't fear his eye upon her in the market.

(cont)

He has beaten, and killed, and raped under the shield of his father's power, don't--

(cont)

Please!

PANEL 4

This panel is drawn in a modern style.

Ra's crouches to pick up the bottle and Sora kneels in front of him, her hands on his, beseeching. He doesn't meet her eyes, but he is only a little ashamed. Mostly he is angry that she is still pursuing this.

SORA

Please. Let this become God's judgement upon him.

PANEL 5

Ra's kneels at the edge of a sickly green Lazarus pit, holding the prince's body partially submerged in it.

NARRATION BOX

But Ra's al Ghul saw only the king's reward, which would allow him to treat fewer patients and devote more time to his research.

(cont)

And so he cured the prince.

* * *

**PAGE 15**

PANEL 1

The king sits on his throne, laughing derisively. Behind him, perhaps cut off somewhat by the frame, his son leans or lounges, munching a fruit, unconcerned with the proceedings.

NARRATION BOX

And the king betrayed him.

THE KING

You wanted coin, physician? Hahaha.

(cont)

One whose profession is concerned with preserving health should appreciate: in return for giving our prince back his life, you will be allowed to keep yours.

PANEL 2

We see Ra's in profile as he bows to the king, a look of hot, thwarted pride and twisting anger on his face.

NARRATION BOX

And Ra's al Ghul began to plot his revenge.

PANEL 3

A bundled up Ra's (scarf over his face, very little exposed skin), carrying a stack of blankets, steps away from a household where the front door is marked:

DO NOT ENTER

POX

 

NARRATION BOX

It was no curse that he called down upon the city, merely an application of the scientific principles he had observed.

PANEL 4

This panel is drawn in the same medieval-like style.

Sora sits in their home, doubled over with cramps, skin ashen. Through a door we can see Ra's, slumped, skin breaking out in green pustules.

NARRATION BOX

But as the disease ravaged the royal quarters, the Great Demon found that he had failed to protect his own household.

PANEL 5

This panel is drawn in the same medieval-like style.

Sora lies, curled on her side, on the shore of the Lazarus pit, as Ra's, wearing only undergarments, steps into the sickly green waters. Beside Sora is a roll of fabric covered in powders, vials and bottles, and other alchemical implements.

NARRATION BOX

Burning with fever, husband and wife prepared the _birkat ul li'aazar_  for their own need, and Ra's al Ghul entered the pool for the first time.

PANEL 6

Ra's head emerges from the pool, mouth gasping, eyes wide, hair whipping back, full of slime. There's a grey at his temples that was not there before.

RA'S

GAASSSP

NARRATION BOX

That is when he met the Sisters Without Ending.

* * *

**PAGE 16**

We see Ra's' head from behind, almost unnoticeably low in the foreground, while the "camera" angles up at our real subject: DEATH OF THE ENDLESS.

She stands before him as he kneels in the underground pool, the green liquid of it reaching to her hips but no further. She is pale as snow, hair uncovered, kohl in her eye and the ankh hanging from her neck.

Behind her is the looming darkness of the depths of the cavern. She's bending slightly, the better to speak with him, her lips hinting at a smile.

DEATH

Hello.

* * *

**PAGE 17**

PANEL 1

Ra's and Death in profile, Ra's confused but mostly afraid. The Lazarus Pit is in an underground cavern, where the pool forms the majority of the space, save for a "shore." Most of the cavern is lit only by the glowing ichor in the pool.

RA'S

Wh- Who are you? What are you doing here?

PANEL 2

The squat, naked form of DESPAIR OF THE ENDLESS crouches over Sora, frowning. In the foreground Ra's head whips around to look at where her voice is coming from.

Sora is slumped against the cave wall near the "shore" of the pool, by the unrolled mat laid with alchemical implements and supplies. She doesn't seem to notice Despair. In addition to the glow from the pit, this area is lit by two guttering torches that lie on the floor.

DESPAIR

I'm here because of the crack in the heart of this one.

(cont)

She knows now that she is bound to a man who would risk innocent lives simply for his pride.

PANEL 3

DELIRIUM OF THE ENDLESS speaks, and Ra's head whips around in the other direction to follow her voice. Her brilliantly colored hair is uncovered, her clothing ragged. She dangles her feet in the pool as if it were a sunny riverside, her head lolling to one side, a faraway look on her face.

DELIRIUM

I'm here because... I'm not anywhere else...

(cont)

...I think.

PANEL 4

Ra's gazes fearfully at Death, whose smile has grown from a hint to something quite friendly. All in all, her attitude towards Ra's in this scene is much like a new babysitter being shown around a small child's room.

DEATH

I'm here a little early.

PANEL 5

Ra's is recoiling from Death, whose posture has not changed. Though he's flinging the emerald water around a bit, none of it seems to stick to her.

RA'S

I - I know who you are! And -

(cont)

And I have beaten you!

PANEL 6

Awed, Ra's is half standing; Death has gently taken his arms to help him rise. Her expression is serious, but gentle. He's wearing nothing but his underclothes, and while the pit's ooze drips from him, it doesn't even seem to touch her.

Behind them, three or four tiny boats, brilliantly colored and no two with the same silhouette, have wandered into the panel.

DEATH

Oh, I'm not here for you yet.

(cont)

But you should be careful. You can't wield a weapon without drawing it close to you.

* * *

**PAGE 18**

PANEL 1

The two of them stand, Death's hands on his forearms. Ra's is afraid, and yet enraptured by her.

Behind them, Delirium crafts another tiny ship to add to the colorful and mismatched armada sailing out from her spot on the shore to pool-parts unknown.

PANEL 2

Ra's has is shrugged off Death's hands, and her hold on him, all haughty pride again. Death tries to hide her amusement. Delirium and her tiny armada also somewhat undercut his gravitas.

RA'S

I can.

PANEL 3

We see Ra's from behind, as Death, hands clasped behind her back, leans around him to look sadly at the shore.

DEATH

Mm.

(cont)

Can you?

PANEL 4

Same framing, Ra's looks over his shoulder, fearful. Death is sidestepping him as she moves to walk to "shore," smiling sympathetically, but sadly.

RA'S

I will save her. One of us had to go first.

(cont)

I will save her!

PANEL 5

As Death leaves the frame, Ra's seizes her arm, fear turned to the fury we saw when the king rejected him.

RA'S

NO! I found the pool! I furthered the old man's science!

PANEL 6

Ra's hands, wrapped around Death's neck.

RA'S (OFF)

I have mastered you!

* * *

**PAGE 19**  

PANEL 1

A livid Ra's has both of his hands around Death's neck, and has hoisted her bodily into the air. She looks entirely calm. He looks slightly crazed.

Delirium stands behind Ra's. Her hands are balled into fists and she looks at him with utter loathing. She has brought her armada with her. (A few ships have launched projectiles that plop into the water just short of Ra's legs).

DELIRIUM

I think you ought to put my sister down.

PANEL 2

Death is stern, but serene despite Ra's hands around her throat.

DEATH

Yes, I think you probably should.

PANEL 3

Death stands on her feet again, stepping away from Ra's as he backs away from her somewhat, his hands at his sides, his resolve gone.

PANEL 4

Ra's moves towards the shore, nervous. Delirium pouts behind him, arms crossed.

PANEL 5

Death crouches on the other side of Sora from Despair.

DEATH

It won't be long now, lovely.

PANEL 6

Ra's scrambles at the edge of the water in the pit.

RA'S

No. No, I'll --

* * *

**PAGE 20**

PANEL 1

Ra's has just stepped out of the pool, and so is no longer touching the water. (Though he's still covered in slime.) He looks confused.

RA'S

I'll --

PANEL 2

A wider shot. The Endless are gone. (He could only see them while he was in the pool.) Still confused, Ra's is moving towards Sora.

PANEL 3

Kneeling by her side, Ra's cradles Sora's head and peers into her eyes.

RA'S

Still alive. Hold on, Sora.

PANEL 4

Ra's has turned to the mat, reaching for a set of implements.

PANEL 5

Before he had a chance to touch them, Delirium has appeared. She stands behind him, her hands covering his eyes. Ra's appears frozen, his jaw hanging slack.

DELIRIUM

I don't like the way you talk to my sister. She said it was fine and I don't have to but I didn't like it and... And...

(cont)

And now whenever you use a pit, I... Get you. For my place. For a little while. Because I didn't like it.

(cont)

And... that's what I'm doing.

 

* * *

**PAGE 21**

PANEL 1

Ra's has ripped the mat from the ground, implements fly through the air.

NARRATION BOX

And so it came to be that madness was sewn into the _birkat ul li'aazar_ , forever.

RA'S

hrrraaaAAAAAH!

PANEL 2

Ra's is doubled over in the ruins of his tools, hands pressed to his head, spittle flecking his lips.

NARRATION BOX

And each time the Great Demon comes back, he brings a little more of it back with him.

RA'S

hhuhhh

(cont)

hhhhhh

(cont)

hhuhhh

PANEL 4

Sora lies curled on the ground, tears running down her face, but too weak to do anything. Despair, squatting by her side, looks satisfied with a task well performed.

DESPAIR

She can feel it now. He has done more that risk her life for his pride. He has taken it, and in his madness he will not even remember to care.

(cont)

I deliver her to you, sister.

PANEL 5

Death helps a bewildered but much healthier looking Sora to her feat (Sora is half bent, Death's hands beneath her forearms, Death cocks her head slightly to the side). Sora's body still lies curled on the ground. Despair is nowhere to be seen.

DEATH

There, now.

SORA

He...

DEATH

Yes. But that's all over with.

SORA

Oh.

DEATH

Do you know who I am?

SORA

You're --

PANEL 6

Sora is getting her bearings a bit more. She focuses on Death, and stands straighter. Death smiles.

SORA

No.

(cont)

But you're so familiar!

PANEL 7

Sora smiles just slightly. Death is the same as previous.

SORA

Could I --

* * *

**PAGE 22**

PANEL 1

Close on just Sora, eyes averted.

SORA

Could I kiss you?

PANEL 2

Close on just Death, laughing.

DEATH

Haha, you know, I get that a lot?

PANEL 3

Close on just Death, cheerfully considering.

DEATH

But for you, Sora, hmm...

PANEL 4

Death has taken has Sora's face between her hands and is kissing her gently on the mouth. Utterly blissful, Sora rests her hands lightly -- tentatively, even -- on Death's forearms.

NARRATION BOX

And so it came to be that the first wife of Ra's al Ghul died without following him to the _birkat ul li'aazar_.

* * *

**PAGE 23**

PANEL 1

We're back in Huda's tent, looking at Nadira, who is confused and a little frightened.

NADIRA

The... The Great Demon is mad?

PANEL 2

Huda is surprised that Nadira would ask such a question, a little indignant, as if Nadira has just indicated a belief that she should have grown out of already.

HUDA

Of course he is, child! No sane man would have the will to take the world in his fist.

PANEL 3

A calmer Huda speaks with the tribal pride of the Ubu. In contrast to her nervousness in Panel 1, Nadira accepts this explanation readily and is instantly comforted by it.

HUDA

Madness has made the Demon great, and it is why we dedicate our lives to him.

NADIRA

Oh.

PANEL 4

Nadira thinks. Huda breaks a thread on Nadira's doll with her teeth.

PANEL 5

Nadira pouts a bit. Laying down the needle, Huda laughs, but does so sympathetically.

NADIRA

I thought it was going to be a story about the Ubu.

HUDA

Ha! I am sorry, Nadira. You reminded me of this story because...

(cont)

Well...

PANEL 6

Huda looks down at the table, thoughtful.

HUDA

Because you cannot use a weapon without drawing it close to you.

 

* * *

**PAGE 24**

PANEL 1

Afzal tears Nadira's doll from its arm.

NARRATION BOX

To become the Ubu is to become a sword in the hand of the Great Demon. Many boys grow old without learning of the madness of men.

PANEL 2

A young Ubu tribeswoman pours water into the canteen of an Ubu tribesman on watch. Behind her, three other men leer predatorily.

NARRATION BOX

For women... It is an easier lesson.

PANEL 3

A young woman (it is Huda, but we don't necessarily have a way of knowing that yet) stares despondently into a mirror as she peels a bandage away from the left side of her face. In the background an older man lies asleep in her tent, sprawled out over her bed.

NARRATION BOX

Many of us are taught, sometimes even before we reach our age of fertility...

PANEL 4

Watching herself in the mirror, this younger Huda gently touches the livid, still-healing scar on the left side of her lip and cheek, her expression hopeless and blank. In the mirror, over the shoulder of her reflection, Despair of the Endless watches her.

NARRATION BOX

...how dangerous it is to be drawn close to it.

PANEL 5

Nadira is, once again, confused.

NADIRA

But if the Great Demon's madness is a good thing...

(cont)

I don't understand.

PANEL 6

Huda smiles, calmly but a little sadly. For the first time, we see the left side of her face while it is unveiled, sporting an old but significant scar.

HUDA

And I pray you never will, Nadira.

* * *

**PAGE 25**

PANEL 1

Huda has stood, and presents Nadira's doll to her, a twinkle in her eye.

HUDA

Here.

(cont)

A mighty warrior deserves a proper cape, don't you think?

PANEL 2

Close on the doll in Nadira's hands. Its arm is firmly reattached, and now it sports a cape -- with scalloped edges, just like a certain great Detective we know.

NADIRA

GAAASSP

PANEL 3

Gently but firmly, Huda motions Nadira towards the door of the tent. Nadira walks, hugging her doll, looking joyfully at Huda over her shoulder.

HUDA

Now, run along. I have kept you too long with my story. Your mother will be wondering soon — if she is not already.

NADIRA

Oh, thank you, _sayida_! Demon watch over you!

PANEL 4

Huda lifts the flap to her tent for Nadira as the girl slips through it.

HUDA

And over you, child. May you see his wrath wash over the world.

PANEL 5

Nadira dashes off from the tent, calling over her shoulder, holding her doll to her chest. Huda stands in the doorway, watching.

NADIRA

May we all!

**Author's Note:**

> Hey! Thanks for reading! 
> 
> If you know me from elsewhere online it's probably through my journalistic writing, but the not-even-kind-of-secret truth is that I have a degree in writing fiction. Though the process has been slowed by working very hard since I got out of college, I've been writing a graphic novel script for a long time. But this year I decided that, in the interest of Finishing a Thing and Not Worrying About It, I would write a story that's been kicking around in my head for years. 
> 
> That story is now a script for a 25-page comic called _The Great Demon and the Sisters Without Ending_ , based on the work of Neil Gaiman, Dennis O'Neil, Neal Adams, Peter Milligan and David Lopez. In order to make it the most valuable learning experience I could, I decided that I would write it from the start with the intention to create a polished, stand-alone script — as I would if I were pitching it as an original piece. 
> 
> In order to further light a fire under my butt, I'd also publish it online under a Creative Commons license and invite people to read and/or illustrate it. It would be a good exercise for my writing brain — both to have something to finish and to have something that would get seen — and to write with intent to collaborate. And I wouldn't have to agonize about the best way to monetize it or maintain copyright or whatever because most of the characters don't belong to me anyway.
> 
> The long and the short of it is: I hope you enjoyed it! Hopefully even if you're not familiar with Ra's al Ghul or _The Sandman_. And if you're another artist or writer who'd like to create work based on part or even all of it, feel free, as long as you give me attribution, don't use that art for commercial purposes and are cool with licensing that art the same way, as per the fancy Creative Commons language below. Of course, if you do that, I really want to see what you create — but I can't exactly bake _that_ into a license. I'm pretty easy to find on the Internet, but if you'd like to drop me a line about _The Great Demon_ outside of AO3, I'd prefer that it be done through Twitter, where my handle is @nerdgerhl. 
> 
> Thanks for reading! Demon watch over you. 
> 
> [](http://creativecommons.org/licenses/by-nc-sa/4.0/)  
> The Great Demon and the Sisters Without End by [Susana Polo](http://susanapolo.com) is licensed under a [Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License](http://creativecommons.org/licenses/by-nc-sa/4.0/).


End file.
